Finger patterns: Moderate number of finger pattern changes.
Patterns are Easy and Medium.

Positions: Violins I and II use First, Third and Fourth Positions.
Viola uses First Position only. Cello uses First to Fifth Positions.
Bass uses Half to Third-and-a-Half Positions.

Shifting: Violins I and II have some shifting, with time to
prepare. They remain in one position long enough to establish
the frame of the hand. No shifting is required for Viola. Cello
has a moderate number of shifts, with rests usually providing
time to prepare. Bass has a moderate number of shifts, with rests
providing time to prepare.

Finger dexterity: Violins and Viola have generally slow to
moderate speed of finger changes, with a few more rapid fingered
passages. Moderate number of fingered string crossings and few
wide leaps. Cello has slow to moderate speed of finger changes,
with rests providing time to prepare for fingered string crossings.
Bass has slow speed of finger changes and few fingered string
crossings.

II. RIGHT HAND CHALLENGES

Types of bowing: Violin I, Violin II, and Viola use detache
and slurs. Cello and Bass use detache only. Long sustained notes
require staggered bow changes. There is some confusion in the
score and parts between phrase and slur markings.

Tone production: Moderate number of changes of bow distribution,
speed, pressure, and sounding point to accommodate changes of
dynamics and various lengths of notes. Long sustained bow strokes
with staggered bow changes require good bow control.

String crossings: Violin I, Violin II, and Viola have a moderate
number of string crossings mainly to adjacent strings. Cello and
Bass have few string crossings, with only one to a nonadjacent
string (Bass B).

Chords: Two-note chords should be played divisi.

III. LEFT-RIGHT HAND CO-ORDINATION CHALLENGES

Special care is needed to co-ordinate changes of left hand
finger pattern with string crossings.

IV. ENSEMBLE CHALLENGES

Balance: Good balance is needed between moving figures and
long sustained notes.

Blend: Good blend of sound is needed on tone clusters.

Fluency: Fluent playing is needed on short rhythmic-melodic
fragments which must sound easy, not laboured.

Texture: Varieties of texture from very thin to thick. Considerable
independence of voices. Frequent use of divisi. (Each section
of the orchestra is divided into A and B sections, and within
those sections there is a good deal of divisi playing.)

Timbre: Timbre variations occur as dynamics and bowing styles
change. (The piece begins pp, builds to a ff climax, then fades
to a final ppp. Long sustained bow strokes and short detache strokes
produce contrasting timbres.)

Positions: Bass uses First and Second Positions. Other instruments
use only First Position.

Shifting: Bass has some simple shifts between First and Second
Positions. Other instruments are not required to shift.

Finger dexterity: Violin A eighth notes require fairly rapid
speed of finger changes. Moderate speed of finger changes for
the other instruments. Violin C has no fingered string crossings.
Violin B has only one fingered string crossing. Viola and Cello
A have few fingered string crossings. Violin A, Cello B, and Bass
have a moderate number of fingered string crossings.

Dynamics: Range is from p to f with some cresc. and dim. Moderate
number of dynamic changes. Voices change dynamic level together.

String crossings: Violin A has a moderate number of string
crossings, all to adjacent strings. Cello B and Bass have a moderate
number of string crossings, mainly to adjacent strings. The other
instruments have a few string crossings, all to adjacent strings.

III. LEFT-RIGHT HAND CO-ORDINATION CHALLENGES

Violin A must co-ordinate bow changes with left hand finger
changes on eighth notes. This is especially challenging when string
crossings are required.

IV. ENSEMBLE CHALLENGES

Balance: Violin A melody must not be overpowered by the accompanying
voices. This requires particular care because of the thick texture
(six accompanying voices).

Blend: The accompanying voices must blend. No single line should
stick out.

Rhythm: Eighth notes must be steady. All voices must cut off
together in bars 19, 28, and 39. Ritards must be well controlled.

MUSICAL CHARACTERISTICS

Form: A B A' form. Considerable use of repetition. Similar
to a chorale prelude in that simple melodic material is varied
and developed.

Harmony: F+. Traditional harmonization.

Melody: Chorale-style melody with limited range (one octave).
No large leaps. Much conjunct movement. The opening melody is
somewhat ornamented as the piece develops. (Compare, for example,
bars 2 and 10.)

Texture: Homophonic texture with melody in Violin A. Texture
is full for all but four bars. (Bars 20-21 and 24-25 feature Viola
and Violins only.)

Timbre: No exploitation of timbre changes.

PEDAGOGICAL VALUE

Effective use of simple musical materials. All parts have some
musical interest, although the main melodic interest is in Violin
A. Useful for developing smooth bow changes and cantabile style.
Aids ensemble development because players must listen sensitively
to achieve good balance and blend.

Composer: COAKLEY, DONALD

Title: FIFTEEN STRING PIECES, "FINGER PICKS"

Instrumentation: Violin A, B, and C, Viola, Cello A and B,
Bass

Duration: I'

Availability: Composer

Level: Medium

TECHNICAL CHALLENGES

I. LEFT HAND CHALLENGES

Finger patterns: Only Easy and Medium patterns are used.

Positions: Violin A uses First Position throughout except for
bars 52-53 which require Second or Third Position. Bars 54 and
55 can be played in First Position or can remain in the same position
used for bars 52-53. The other instruments use First Position
only.

Shifting: Rests in bars 50 and 51 provide time for Violin A
to prepare for the shift from First Position to Second or Third
Position. Rests in bars 53 and 54 provide time for a shift back
to First Position if such a shift is desired.

Finger dexterity: Moderate speed of finger changes. No chromatic
alterations involving the slide of a finger. Violins A and B have
a few fingered string crossings. The other instruments have no
fingered string crossings.

II. RIGHT HAND CHALLENGES

Types of bowing: Bows are not used in this piece.

Tone production: Some unusual methods of tone production are
used. (Rhythmic patterns are played by Cello B with a beater on
the lower side of the instrument, by Bass with a bass drum mallet
near the bridge, and by Violin C with a xylophone beater alternating
between the lower and upper back of the instrument.)

Dynamics: Infrequent dynamic changes. Range for Violin A and
B, Viola, and Bass is p to f. Range for Violin C and Cellos is
narrow (mf to f).

String crossings: There are no bowed string crossings.

Pizzicato: Extensive use of pizzicato at a lively tempo.

III. LEFT-RIGHT HAND CO-ORDINATION CHALLENGES

No special challenges.

IV. ENSEMBLE CHALLENGES

Balance: Melodic fragments moving from voice to voice in bars
45-49 must not be overpowered by the repeated accompanying figure
played in octaves by Violin A and B.

Blend: Voices moving in rhythmic unison must blend well.

Fluency: Lively pizzicato passages must be fluently played.

Rhythm: Pizzicato must not rush. Rests must be carefully counted.

MUSICAL CHARACTERISTICS

Form: Considerable use of repetition. The opening four-bar
melodic figure played by Violin A provides the basic material
for the piece. This melodic figure and fragments from it are passed
from voice to voice and are varied in rhythm and pitch.

Harmony: Tonality is somewhat ambiguous. A and D are tonal
centres. There is frequent movement in unison, octaves, and fifths.

Melody: Simple melody which moves mainly by step. The opening
four-bar melody played by Violin A provides the basic melodic
material for the piece.

Texture: Considerable variation in texture from a single line
(e.g., bars 1-3) to tutti (seven voices). Moderate amount of independence
of parts.

Timbre: Pizzicato and various unusual percussive effects are
used. Bass plays with a bass drum mallet near the bridge. Cello
B uses a beater on the lower side of the instrument. Violin C
plays with a xylophone beater, alternating between the lower back
and upper back of the instrument. Rests provide time to prepare
for timbre changes.

PEDAGOGICAL VALUE

Skilful use of simple musical materials. Useful for rhythmic
and ensemble development. An interesting study in unusual timbre
effects.

Composer: COAKLEY, DONALD

Title: FIFTEEN STRING PIECES, "FOLK DANCE"

Instrumentation: Violin A, B, and C, Viola, Cello A and B,
Bass

Duration: 2'

Availability: Composer

Level: Medium

TECHNICAL CHALLENGES

I. LEFT HAND CHALLENCES

Finger patterns: Violin A uses Easy and Medium patterns. The
other instruments use only open strings.

Positions: Violin A uses First Position. The other instruments
have no fingered notes.

Shifting: No shifting is required.

Finger dexterity: Violin A has moderate to rapid speed of finger
changes, with few fingered string crossings. The largest leap
is an octave from open A to third finger A on E string. There
are two chromatic alterations involving the slide of a finger.

II. RIGHT HAND CHALLENGES

Types of bowing: Violin A uses detache, accented detache, spiccato,
and two-note slurs. The other instruments use only detache and
martele.

String crossings: Violin A has a moderate number of string
crossings between A and E strings at a moderate tempo. Violin
B has frequent string crossings. Some are quite rapid but all
arc to adjacent strings. Violin C has frequent string crossings
at a moderate tempo, but only one crossing is to a non-adjacent
string. Viola has frequent string crossings, usually at a moderate
tempo. All are to adjacent strings. Cello A has a moderate number
of string crossings, all to adjacent strings. Cello B has few
string crossings at a moderate tempo. All are to adjacent strings.
Bass has frequent string crossings at a moderate tempo. Only one
is to a non-adjacent string.

III. LEFT-RIGHT HAND CO-ORDINATION CHALLENCES

Violin A has some tricky passages involving rapid left hand
finger action and rapid bowing with changing articulation and
string crossings.

IV. ENSEMBLE CHALLENCES

Balance: Accompanying voices must not overpower the Violin
A melody.

Blend: Good blend of sound must be sought among the accompanying
voices.

Fluency: Violin A passage work must be fluently played.

Intonation: No special intonation challenges for the ensemble
because only Violin A plays fingered notes. Violin A intonation
of course must be accurate.

Rhythm: A steady rhythmic pulse must be maintained. Voices
must be precisely together when they move in rhythmic unison.
Off-beat alternating quarter rest, quarter note figures require
care. Violin A sixteenth notes must not rush.

MUSICAL CHARACTERISTICS

Form: A B A form.

Harmony: Melody centres on D (D Dorian and D+). Repeated D
to A figures and G to D figures in the Bass reinforce the D tonal
centre. There are many mild dissonances as various open strings
are sounded together. The upper accompanying voices feature movement
in fifths as they cross from one open string to another. Bass
moves in fourths from one string to the next.

Melody: Melody moves mainly in conjunct motion or by major
or minor thirds. The largest leap is an octave.

Texture: Mainly thick texture, with Violin B and C and the
lower voices providing accompaniment for Violin A. Some thinning
of texture. (Violin A does not play in bars 1-2 and 26-27. Violin
A plays alone in bars 24 and 25. Viola, Cellos, and Bass drop
out in bars 16 and 17.)

Timbre: Changes of timbre are not exploited.

PEDAGOGICAL VALUE

Melodic interest is in Violin A. The other voices have some
rhythmic interest. Violin A is more technically challenging than
the other voices. Pedagogically useful for rhythmic and ensemble
development.

Composer: COAKLEY, DONALD

Title: FIFTEEN STRING PIECES, "SCALY THINGS"

Instrumentation: Violin A, B, and C, Viola, Cello A and B,
Bass

Duration: 1 ' 15 ''

Availability: Composer

Level: Medium

TECHNICAL CHALLENGES

.I LEFT HAND CHALLENGES

Finger patterns: Violins and Cello use only one pattern (Easy).
Viola uses only one pattern (Medium).

Positions: Bass uses First and Third Positions. The other instruments
use First Position only.

Shifting: Bass has quite frequent shifting, but the ascending
shift is always the same, moving in scale motion. The descending
shift is either in scale motion or is a straight forward shift
from second to first finger. The other instruments do not have
to shift.

Finger dexterity: Moderate speed of finger changes. Finger
movement is mainly by step, with no changes of finger pattern.
Open strings can be used to avoid fingered string crossings. No
wide leaps.

II. RIGHT HAND CHALLENGES

Types of bowing: Detache, slurred staccato (two notes per bow),
portato (two notes per bow), and slur (two and three notes per
bow).

Tone production: Moderate amount of variety in bow distribution,
speed, pressure, and sounding point. No extremely slow bow strokes.
(Longest is four beats per bow.) Patterns of bow distribution
tend to be established.

Dynamics: Moderate number of dynamic changes. Range is from
p to ff with some use of cresc. and dim.

String crossings: Moderate number of string crossings, all
to adjacent strings.

III. LEFT-RIGHT HAND CO-ORDINATION CHALLENGES

Bow changes and left hand finger changes must be well co-ordinated
on eighth note, triplet eighth note, and dotted eighth and sixteenth
note runs.

Phrasing: Phrases must be well shaped, following the rise and
fall of the melody, to avoid a mechanical effect.

Rhythm: Players must move from one rhythmic pattern to another
with precision. Care is needed so that dotted eighth, sixteenth
figures do not sound like a triplets. Rhythmic unisons must be
exactly together.

MUSICAL CHARACTERISTICS

Form: Considerable use of repetition. Form could be considered
theme and variations since the whole piece is built on the opening
D+ scale. There is also a suggestion of A B A form in Coakley's
direction: "like a scalelike a choralelike a
scale." The middle (chorale) section, bars 13-23, is broader
and more sustained in style than the opening section (bars 1-12)
and the final section (bars 23-36), but all three sections are
based on the D+ scale.

Harmony: D+ tonality. Considerable use of unisons and octaves.
Simple tonic and dominant harmonies are featured in the chorale-like
section.

Melody: Based on ascending D+ scale and descending D+ scale
and chord.

Texture: Generally thick texture but with some answering back
and forth between upper and lower voices (e.g., bars 9-12). Violin
A, B, and C move in unison except for the chorale section. Cello
A and B also play in unison except for the chorale section.

Timbre: Timbre changes are not exploited.

PEDAGOGICAL VALUE

Interesting treatment of very simple basic material (D+ scale).
All voices are interesting and important in the ensemble. Much
movement in octaves and in rhythmic unison. Notes are easy but
the bowings and rhythms are challenging. Presents opportunities
for scale practice in a musically interesting context. Since the
left hand finger pattern does not change, each player can focus
on right hand and ensemble challenges. Useful for developing ensemble
precision. Provides valuable bowing and rhythmic training because
bowing and rhythm patterns change frequently. Also provides intonation
training (tuning octaves, unisons, and chords in a simple, obvious
harmonic context).

Composer: COAKLEY, DONALD

Title: FIFTEEN STRING PIECES, "SUNRISE"

Instrumentation: Violin A, B, and C, Viola, Cello A and B,
Bass

Duration: 3'

Availability: Composer

Level: Medium

TECHNICAL CHALLENGES

I. LEFT HAND CHALLENGES

Finger patterns: Only Easy patterns are used.

Positions: First Position only.

Shifting: No shifting is required.

Finger dexterity: Slow to moderate speed of finger changes.
Few fingered string crossings. No chromatic alterations involving
the slide of a finger.

II. RIGHT HAND CHALLENGES

Types of bowing: All instruments play detache, two-note slurs,
and sul ponticello tremolo. Violins also use a special bowing
effect which is described in the score as follows: "Rapid
movement of the bow between the bridge and the tailpiece. Movement
is continuous and should be played at the tip of the bow. There
should be a minimum of pressure on the strings."

Tone production: Sounding point must be well controlled to
produce the required special effects (sul ponticello and bowing
between bridge and tailpiece).

String crossings: Violins must make rapid string crossings
to produce the special sound of the bow moving between bridge
and tailpiece. The other instruments have few string crossings.

III. LEFT-RIGHT HAND CO-ORDINATION CHALLENGES

No special challenges. Players can focus on right hand challenges
since left hand demands are minimal.

IV. ENSEMBLE CHALLENGES

Balance: Moving voices must not be overbalanced by voices playing
tremolo. Violin A shimmering effect (bowing between bridge and
tailpiece) must not overpower the moving Violin B and C melodic
line (bars 22-26).

Blend: Voices must blend when moving together in unison or
octaves. Tremolo accompanying voices also must blend well.

Fluency: Wave-like melodic figures must be fluently played.
They must not bog down.

Harmony: No use of traditional harmony. Tone clusters are built
up as voices enter one by one with sustained notes. A cluster
of G F-sharp E B D A is built up in the opening seven bars. Major
and minor seconds are featured frequently. Voices move in octaves
in bars 27-31.

Texture: Various textures are featured. In the opening seven
bars, voices enter one by one at one-bar intervals. One or more
moving voices are often highlighted against a tremolo background.
Texture is full in bars 27-31, with voices moving in unison and
octaves.

Timbre: Sul ponticello tremolo and shimmering eerie sound created
by bowing between the bridge and tailpiece contrast with more
usual sounds produced by detache and slurred bow strokes.

PEDAGOGICAL VALUE

Effective, imaginative use of simple musical materials. All
parts have opportunities to explore string timbres. Useful for
ensemble development and for tone production training. Provides
interesting and enjoyable experience with descriPtive music for
strings.

Composer: COAKLEY, DONALD

Title: FIFTEEN STRING PIECES, "WANDERING WALTZ"

Instrumentation: Violin A, B, and C, Viola, Cello A and B,
Bass

Duration: 1'30''

Availability: Composer

Level: Medium

TECHNICAL CHALLENGES

I. LEFT HAND CHALLENGES

Finger patterns: Violin A uses two Easy patterns plus three
occurrences of low 1 placement. Violin B has one Easy pattern
with no change of pattern. Violin C and Viola use Easy and Medium
patterns. Cellos A and B use a single Easy pattern.

Positions: Violins, Viola, and Cellos use First Position only.
Bass uses Half or First Position.

Shifting: No shifting is required.

Finger dexterity: Violin A has moderate speed of finger changes
and moderate number of fingered string crossings, with no wide
leaps. Finger movement is mainly by step. The other instruments
have slow speed of finger changes, with few fingered string crossings
and no wide leaps.

II. RIGHT HAND CHALLENGES

Types of bowing All instruments use detache, accented detache,
and detache porte. Violin A also uses slurs (two and three notes
per bow). Violin B, Violin C, and Viola use spiccato.

Tone production: Violin A has a moderate amount of variety
in bow distribution, speed, pressure, and sounding point. The
other instruments have few changes in bow distribution, speed,
pressure, and sounding point.

Dynamics: Moderate number of dynamic changes. Range is from
mp to f. Some subtle changes involving cresc. and dim.

String crossings: Violin A has a moderate number of string
crossings, all to adjacent strings. Violins B and C have few string
crossings, all to adjacent strings. Viola has no string crossings.
Cello A, Cello B, and Bass have frequent string crossings at a
moderate tempo, all to adjacent strings.

Pizzicato: All voices except Violin A play pizzicato in bars
22-39. Rests provide time to prepare for the change from arco
to pizzicato and back to arco.

III. LEFT-RIGHT HAND CO-ORDINATION CHALLENGES

No special challenges.

IV. ENSEMBLE CHALLENGES

Balance: Violin A melody must not be overpowered by the accompanying
voices. Cellos and Bass in octaves on dotted half notes must not
be too heavy.

Blend: Good blend of sound is needed when voices move in rhythmic
unison (e.g., Violin B, Violin C, and Viola as they move together
in thirds; Cellos and Bass as they move in octaves).

Fluency: Violin A melody must be fluently played.

Intonation: Chromatic alterations must be carefully observed.
Players must hear and tune dissonances.

Phrasing: Violin A must shape the phrases, following the rise
and fall of the melodic line as well as the cresc. and dim. markings.

Rhythm: Violin B, Violin C, and Viola must move exactly together
on their rhythmic unison accompanying figures. All players must
be alert on ritards and pauses.

MUSICAL CHARACTERISTICS

Form: There is considerable use of repetition. Violin A melody
moves over ostinato patterns in the lower voices. (The dotted
half note pattern in Cello A, Cello B, and Bass, featuring alternating
D and A, occurs in bars 1-20, 41-44, 52-67, and 74-77. With this
bass line goes a repeated two-bar pattern in Violin B, Violin
C, and Viola. A second ostinato pattern, featuring alternating
B and E, occurs in bars 22-39 and 68-73.) The opening melodic
material recurs in bar 61 ff. and also appears in inverted form
in bar 26 ff. and bar 56 ff.

Harmony: Shifting ("wandering") tonality in the melody
(eg., D+, D-, D Dorian, G+). Bitonality in the accompanying voices.
The D A ostinato in Bass and Cellos suggests D tonality while
the B G to C A repeated pattern in Violin B, Violin C, and Viola
suggests G+. The piece concludes on a G+ chord.

Texture: Homophonic texture. Melody is in Violin A. The other
voices provide accompaniment.

Timbre: Contrasts are exploited between arco and pizzicato
and between various bowing styles (e.g., on- and off-the-string
bowings; slurred and detached bowings; accented and unaccented
bowings).

PEDAGOGICAL VALUE

Melodic interest is confined to Violin A. There is a lack of
variety in rhythm and notes in the other voices (mainly repeated
patterns), but the piece is useful for developing ensemble precision
and aural skills (e.g. hearing dissonances and changes of tonality).
Provides opportunities to work on a variety of bowing styles.

Composer: DEEGAN, ROGER

Title: MIRKWOOD MARCH

Instrumentation: Violin I, Violin II, Viola, Cello, Bass

Duration: 3'

Availability: Composer

Level: Medium

TECHNICAL CHALLENGES

I. LEFT HAND CHALLENGES

Finger patterns: Violin I uses only two patterns, both Easy.
Violin II has a moderate number of changes of finger pattern (Easy
and Medium patterns). Viola uses only two finger patterns (Easy
and Medium). Cello has frequent forward extensions.

Positions: Bass uses First, Second-and-a-Half, and Third Positions.
The other instruments use only First Position.

Shifting: Bass has some simple shifting. The other instruments
are not required to shift.

Finger dexterity: Moderate speed of finger changes. Frequent
use of open strings and movement by step reduce the difficulty
of the fingering. Few fingered string crossings. No leaps greater
than an octave.

Special effects: For Viola and Cello, use of left hand pizzicato
on open D in bar 43 would simplify the change from pizzicato to
arco. Violin I and Violin II harmonics are playable with the hand
in First Position. Rests provide time to prepare for the harmonics.

II. RIGHT HAND CHALLENGES

Types of bowing: Detache, martele, sul tasto, col legno.

Tone production: Moderate amount of variety in bow distribution,
speed, pressure, and sounding point. Good bow control is needed
to produce dynamic changes.

Dynamics: Wide range (ppp to ff). Quite frequent dynamic changes,
some of them subtle and rapid.

String crossings: Bass has quite frequent bowed string crossings,
including some to nonadjacent strings. The other instruments have
a moderate number of bowed string crossings, all to adjacent strings.

Pizzicato: Viola and Cello have two short pizzicato passages,
the first of which involves a quick change from arco to pizzicato
and back to arco. Bass has quite frequent changes between arco
and pizzicato, with some of the changes being quite rapid.

III. LEFT-RIGHT HAND CO-ORDINATION CHALLENGES

Bow and finger changes must be well co-ordinated on the running
eighth notes.

IV. ENSEMBLE CHALLENGES

Balance: Good balance is needed as thematic material passes
from voice to voice.

Blend: Good blend of sound is needed when voices move in unison
or octaves.

Fluency: Eighth notes must be fluently played.

Phrasing: Players should work to achieve a seamless effect.

Rhythm: A steady rhythmic pulse must be maintained throughout.
Accents must be carefully observed. Entries must be precise.

MUSICAL CHARACTERISTICS

Form: Considerable use of repetition. The piece develops out
of the opening theme which is repeated, passing from voice to
voice, with various fugal techniques used (e.g., inversion, augmentation,
stretto). Counter melodies are also repeated. (The Violin I counter
melody which begins in bar 11 is repeated by Violin II, beginning
at bar 15.) Some repetitions produce ostinato effects. (The Bass
figure played in bars 8-11 is repeated in bars 12-15, 16-19, and
20-23.) Short melodic fragments are also repeated (e.g., descending
one-bar scale figures which pass between Violin I and II, bars
28-32).

Harmony: Begins in E-. Key changes to B-, then returns to E-.

Melody: Considerable use of conjunct motion. No large leaps.

Rhythm: Elementary rhythmic patterns. Some use of syncopation.
Metre is 4/4, with a quarter note = 112-116.

Texture: Polyphonic. Voices enter one by one at the beginning
(Bass, then Cello, then Viola, then Violin I, then Violin II).

Timbre: Various timbres are exploited. Contrasts between arco
and pizzicato are featured. Dynamic changes and accents help to
produce changes of timbre. Violin I and II play sul tasto or con
sordino, bars 58-70. Viola, Cello, and Bass play col legno at
bar 68. Violin I and II play harmonics in the final bars.

PEDAGOGICAL VALUE

Useful for developing bow control (changing dynamics and timbres).
Excellent for ensemble training because each voice has an independent
musical line, and melodic interest passes from voice to voice.
Valuable for developing musical understanding. Students can analyse
the form of the piece, noting the compositional techniques used
by Deegan.

Composer: DOOLITTLE, QUENTEN

Title: VARIATION SUITE IN THE FORM OF ETUDES FOR STRINGS

Instrumentation: Violin I, Violin II, Viola, Cello, Bass

Duration: 10'

Availability: Composer

Level: Medium

TECHNICAL CHALLENGES

I. LEFT HAND CHALLENGES

Finger patterns: Moderate number of changes of finger pattern
(Easy and Medium patterns).

Positions: Violin I has 3 passages in Movement IV which require
Third Position unless the lower alternative bracketed notes are
played. Bass uses all positions up to and including Third Position.
The other instruments use only First Position.

Shifting: Violin I has 3 simple shifts to Third Position. Bass
has some straight forward shifting. The other instruments are
not required to shift.

Finger dexterity: Moderate speed of finger changes. Moderate
number of fingered string crossings. Largest leap is an octave.
Violin I, Violin II, and Viola have occasional simple chromatic
alterations requiring the slide of a finger.

Special effects: All instruments have some glissando effects
in Movement II (semitone or full tone slides).

Phrasing Players must feel the on-going musical phrases, even
when rests occur and one voice takes over from another.

Rhythm: Voices often move together rhythmically. This requires
ensemble precision so that a ragged effect does not result. Syncopations
in Viola, Cello, and Bass in Movement I must be accurate and confident.
Rests must be carefully counted.

MUSICAL CHARACTERISTICS

Form: Four short movements, with Movement I repeated after
Movement IV. Movement I (Grand Detache with Bells) is built of
2-bar phrases, each with a different bell-like effect. Movement
II (Pizzicato Blues) features imitative treatment of short "blues"
motives. There is a canon at the octave at letter A. Movement
III (Staccato on Parade) begins with a 4-bar theme in Violin I.
The theme then appears successively in Violin II, Viola, and Cello-Bass.
Melodic and rhythmic motives from the theme are developed in the
remainder of the movement. Movement IV (Strings Double Crossed)
is based on a 2-bar motive involving string crossings.

Harmony: Generally tonal with some use of dissonances. Movement
I features recurrent open fifths. Movement II is in G- with major
as well as minor thirds contributing to the blues effect. Movement
III begins and ends in G+, although other keys are briefly introduced
(e.g., F+, D+, A+). Cross relations are introduced as voices enter
in different keys (bitonality). Movement IV begins and ends in
G+, but there is frequent alternation between G+ and F+. Frequent
movement in open parallel fifths.

Melody: Opening melodic motive of Movement I is treated in
various ways in each successive movement. Considerable repetition
of melodic figures. Largest leap is an octave.

Rhythm: Mainly elementary rhythmic patterns are used. Movement
I is Moderato. Common time. Syncopation in Viola and Cello-Bass.
Accents are important. Movement II is in C metre, Moderato. Movement
III is Allegretto. 2/4 metre. Movement IV is Allegro. 2/4 metre.
Much use of eighth notes.

Texture: Variety of homophonic and polyphonic textures. Movement
I is basically homophonic with some pairing of voices. (Violin
I and II are paired, Viola and Cello-Bass are paired.) Movement
II features contrasts of texture throughout (e.g., pairing of
Violin I and II, and of Viola and Cello-Bass; short homophonic
sections; canon). Movement III begins with polyphonic texture
as voices enter one by one with 4-bar theme. Various textures
follow, including some homophonic texture and some pairing of
voices. Movement IV features some homophonic texture, and some
pairing of voices (Violin I and II, then Violin II and Viola).

Timbre: Contrasts between arco and pizzicato.

PEDAGOGICAL VALUE

Particularly valuable for developing basic string playing techniques
(e.g., grand detache in Movement I, pizzicato and glissando in
Movement II, staccato in Movement III, string crossings in Movement
IV). Useful for developing ensemble playing skills because textures
vary and each voice must play important roles rhythmically, melodically,
and harmonically. Also useful for developing musical understanding.
Students can analyse style, noting the stylistic contrasts between
movements, and can analyse the basic musical material and how
it is varied from one movement to the next.

Composer: FLEMING, ROBERT

Title: ANDANTE

Instrumentation: Violin A, B, C, and D, Viola, Cello, Bass

Duration: 3'

Availability: CMC

Level: Medium

TECHNICAL CHALLENGES

I. LEFT HAND CHALLENGES

Finger patterns: Moderate number of changes of finger pattern
(Easy and Medium patterns).

Positions: Violin A and B use First to Fourth Positions. Violin
C and D use First and Second Positions. Viola remains in First
Position. Cello uses Half to Third-and-a-Half Positions. Bass
uses Half, First, and Second Positions.

Shifting Violin A, Violin B and Cello have a moderate number
of shifts. Slow tempo and rests provide preparation time. Violins
C and D have one simple shift from First Position to Second Position,
then back to First Position (bars 16-17). A simple shift to Second
Position in bar 4 could be used to avoid string crossings in bars
4-7. Bass has a few simple shifts. No shifting is required for
Viola.

Finger dexterity: Slow to moderate speed of finger changes.
Moderate number of fingered string crossings. Some chromatic alteration
involving the slide of a finger.

String crossings: Moderate number of bowed string crossings,
including some to non-adjacent strings.

Chords: Two-note chords are to be played divisi.

III. LEFT-RIGHT HAND CO-ORDINATION CHALLENGES

Left and right hands must be well co-ordinated on string crossings,
especially when crossings are to non-adjacent strings.

IV. ENSEMBLE CHALLENGES

Balance: Good balance is needed between melody and accompaniment.
Moving lines in the accompanying voices must be brought out.

Blend: Good blend of sustained, cantabile sound is essential
to the style of the piece.

Fluency: Fluent playing is needed throughout in order to produce
a smooth, flowing effect.

Intonation: Care is needed in tuning dissonant chords, especially
where chromatic alterations and finger pattern changes occur.
Violin A and B leaps must be carefully tuned.

Phrasing: Players must feel the flow of the phrases to avoid
a plodding, note-by-note effect. Eighth rests in Violin A and
B should be treated as breath marks and should not be allowed
to disrupt the musical flow, especially since the accompanying
voices usually have moving lines or sustained notes during those
short Violin rests.

Rhythm: The slow tempo must not be allowed to bog down. A sense
of on-going motion must be preserved. Careful counting is needed
in order to fit voices together where dotted notes and ties are
involved. Metre changes require attention.

MUSICAL CHARACTERISTICS

Form: Free form with some use of repetition. The opening bars
are repeated at bar 18 ff.

Harmony: Tonal but with much chromaticism. Ends on a sustained
C+ chord.

Rhythm: Tempo is "Slow." There are several metre
changes. (The piece begins with two bars of 3/4. A change to common
time occurs at bar 3. Two bars of 3/4 recur at bars 18-19, and
a return to common time follows.) Rhythms are generally straight
forward, featuring whole, half, dotted half, quarter, dotted quarter,
eighth, dotted eighth, and sixteenth note values. There are some
fairly complex rhythmic interrelations among voices where tied
and dotted notes are featured.

Texture: Generally quite thick homophonic texture, with melody
in Violin A and B, but with some independence of voices and some
variation in texture. There are four Violin parts, but Violin
A and B play mainly in unison, and Violin C and D also have a
good deal of unison playing. There are some divisi passages for
Viola and Cello, and there is a short unison passage for all Violins.

Positions: All Violin I and II notes are playable in First
Position, but some use of Second and Third Positions is recommended.
Viola uses First Position only. Cello uses First, Second, and
Second-and-a-Half Positions.

Shifting: Some simple shifts to Second and Third Positions
are recommended for Violins I and II. No shifting is required
for Viola. Cello has some simple shifts.

Finger dexterity: Moderate speed of finger changes. Moderate
number of fingered string crossings. Violin II has some chromatic
alteration involving the slide of a finger.

Pizzicato: Cello has six pizzicato notes at a slow tempo in
"Mussette." Use of left hand pizzicato on the Cello
open Ds at the beginning and end of the pizzicato section would
simplify the quick change from arco to pizzicato and back to arco.

III. LEFT-RIGHT HAND CO-ORDINATION CHALLENGES

Left and right hands must be well co-ordinated on string crossings,
especially when changes of finger pattern occur.

IV. ENSEMBLE CHALLENGES

Balance: Good balance is needed between melody and accompaniment
as melody passes from voice to voice.

Blend: Good blend of sound is needed on cadences.

Fluency: Fluent playing is needed on the eighth notes in the
"Mussette."

Intonation: Special care in tuning is needed when chromatic
alterations occur.

Phrasing: Players should be aware that phrases begin on the
third beat of the bar.

Rhythm: Long tied notes must be carefully counted. Eighth notes
in the Mussette must be steady.

MUSICAL CHARACTERISTICS

Form: A B A (Gavotte, Mussette, then D.C. to Gavotte).

Harmony: G- with some chromatic alterations and some modulations
(e.g., to D+ and D-). Frequent use of pedal notes (G pedal at
the end of the Gavotte, in the first section of the Mussette,
and at the end of the Mussette; D pedal at the beginning of the
second section of the Mussette).

Melody: Gavotte melody features mainly disjunct motion as it
outlines chords. (Intervals of thirds, fourths, fifths, sixths,
and octaves dominate.) Mussette melody features more conjunct
motion. There are no melodic leaps greater than an octave.

Useful for developing bow control (contrasting bowing styles,
articulations, accents, dynamics) and for developing left hand
facility in changing finger patterns. Provides opportunities for
ensemble development as textures change and melodic interest passes
from voice to voice.

Composer: FLEMING, ROBERT

Title: INVOCATION

Instrumentation: Violin I, Violin II, Viola, Cello, Bass

Duration: 1'40"

Availability: CMC

Level: Medium

TECHNICAL CHALLENGES

I. LEFT HAND CHALLENGES

Finger patterns: Moderate number of changes of finger pattern,
including Easy and Medium patterns.

Positions: All Violin I notes are playable in First Position,
but Third Position would be preferable in the first two bars.
All Violin II notes are playable in First Position, but some use
of Second and Third Positions would be preferable. Viola uses
First Position only. Cello uses Half to Third Positions. Bass
uses Half and First Positions.

Shiftlng: For Violins, no shifts are essential, but it would
be preferable for Violin I to begin in Third Position, making
a simple shift back to First Position at the end of bar 2, and
for Violin II to make some simple shifts between First, Second,
and Third Positions. No shifts are required for Viola. Cello and
Bass have a moderate number of simple shifts.

Finger dexterity: Moderate speed of finger changes. Moderate
number of fingered string crossings. Largest leaps are octaves
(Violin I and Cello).

Chords: Violin II has one two-note chord which is to be played
divisi.

III. LEFT-RIGHT HAND CO-ORDINATION CHALLENGES

No special challenges.

IV. ENSEMBLE CHALLENGES

Balance: Sensitive listening is needed in order to balance
the voices in chords and to bring out moving voices.

Blend: Good blend of warm, rich string sound is needed throughout.

Fluency: Playing must be fluent in order to achieve the flowing
cantabile style required in this piece.

Intonation: Special care is needed in tuning the rich chromatic
harmonies. All accidentals must be carefully observed.

Phrasing: Phrases must be well shaped. Special care and sensitivity
are needed on the beginnings and ends of phrases.

Rhythm: Changing metres require attention. Violin I triplet
against two quarter notes in Viola (bar 2) must be precise.

MUSICAL CHARACTERISTICS

Form: Short free form piece (only thirty-three bars).

Harmony: Rich chromatic harmonies.

Melody: Conjunct and disjunct movement. Largest leaps are octaves.

Rhythm: Moderate tempo (Moderato), with a rallentando in the
final bars. Metre is common time, changing to 3/4 and 2/4. Elementary
rhythmic patterns featuring half, dotted half, quarter, dotted
quarter, and eighth note values.

Texture: Mainly homophonic, but with some variety of texture
and some independence of voices. There is no independent Bass
line. Where Bass plays, it doubles the Cello line, sounding an
octave lower.

Finger patterns: Moderate number of changes of finger pattern.
Patterns are mainly Easy and Medium.

Positions: Violins I and II use only First Position. Viola
can remain in First Position, but some use of Half Position is
advisable. Cello uses First Position except for one shift to Fourth
Position. Bass uses positions up to and including Second-and-a-Half
Position.

Shifting. Violins do not need to shift. Viola has some simple
shifts between First and Half Positions. Cello has one straight
forward shift between First and Fourth Positions. Bass has straight
forward shifts, generally involving small, easy-to-hear intervals.

Finger dexterity: Moderate speed of finger changes. Moderate
number of fingered string crossings. Violin II and Viola have
occasional changes of finger pattern requiring the slide of a
finger.

Dynamics: Moderate number of dynamic changes, including small
cresc. and dim. effects. Range is from p to f.

String crossings: Violin I, Violin II and Viola have a moderate
number of string crossings, mainly to adjacent strings. Cello
and Bass have quite frequent string crossings, including crossings
to non-adjacent strings.

Chords: Moderate use of two-note chords at moderate tempo and
dynamic levels.

III. LEFT-RIGHT HAND CO-ORDINATION CHALLENGES

Left and right hands must be well co-ordinated on string crossings
and fingered two-note chords.

IV. ENSEMBLE CHALLENGES

Balance: Accompanying parts must not overpower Violin I melody.
Moving eighth notes in Violin II and Viola must be brought out.

Blend. Homophonic texture requires a good blend of voices throughout.

Fluency: A good sense of musical flow is essential in order
to avoid a plodding effect, especially on the repeated quarter
notes in the accompanying voices.

Intonation: Changes of key must be carefully observed. Changes
of finger placement for C and C-sharp, F and F-sharp require particular
attention.

Phrasing Accompanying parts should follow the phrasing of the
Violin I melody (mainly four-bar phrases). Players should be aware
of how Violin II moving eighth notes are used to link phrases.

Rhythm: Tempo changes at letters C and D must be carefully
observed. Players must be aware of the change of metre from 3/4
to 2/4 for one bar after letter B.

MUSICAL CHARACTERISTICS

Form: Considerable use of repetition. Form is basically A B
A (shortened). The first A section is itself in A B A form (a
twelve-bar section in A-, followed by a similar thirteen-bar section
in A+, followed by a repetition of the A- section). The B section
consists of two parts: eight bars in A+ followed by eleven bars
which begin like the previous eight bars but in E+ over an A pedal,
and which conclude in A+. A shortened twelve-bar A section in
A+ returns after the B section.

Harmony: Conventional harmony. Alternation between A- and A+.
One move to E+ but with A pedal in Cello and Bass.

Melody: Conjunct and disjunct movement. Largest leap is a minor
seventh. The melody moves mainly be step or outlines major or
minor chords.

Timbre: The main contrast is of articulation rather than timbre.
(The A section features mainly detached bowing while the B section
is more legato.)

PEDAGOGICAL VALUE

Useful for developing control of bowing and intonation, and
for developing ensemble sensitivity and precision. Interesting
as a study in changing keys.

Composer: FLEMING, ROBERT

Title: A STRING THING

Instrumentation: Violin I, Violin II, Viola, Cello, Bass

Duration: 2'25''

Availability: CMC

Level: Medium

TECHNICAL CHALLENGES

I. LEFT HAND CHALLENGES

Finger patterns: Moderate number of changes of finger pattern
(Easy and Medium patterns).

Positions: Violin I uses First, Second, Third, and Sixth Positions.
All Violin II notes are playable in First Position, but some use
of Third Position is advisable. Cello uses First to Fourth Positions.
Bass uses Half to Third Positions. Viola can remain in First Position.

Shifting: Violin I, Cello, and Bass have a moderate amount
of shifting, with rests and moderate tempo providinß some
preparation time. For Violin II, a few simple shifts between First
and Third Positions are advisable although no shifts are essential.
No shifting is required for Viola.

Dynamics: Moderate number of dynamic changes. Range is from
p to ff. Some subtle cresc. and dim. effects.

String crossings: Moderate number of string crossings at a
moderate tempo, mainly to adjacent strings.

Chords: Violin I, Violin II, Viola, and Cello two-note chords
are to be played divisi. Cello three-note chords in the final
bars are to be performed with one player on the top note, one
player on the bottom two notes.

III. LEFT-RIGHT HAND CO-ORDINATION CHALLENGES

No special challenges.

IV. ENSEMBLE CHALLENGES

Balance: Good balance between melodic and accompanying lines
must be sought. Although Violin I has most of the melodic interest,
some moving lines in the other voices must also be brought out.

Blend. Good blend of warm, rich, sustained sound should be
sought.

Fluency: Playing must be fluent in order to produce the required
smoothly flowing effect.

Phrasing Players should work at shaping the phrases, following
not only the dynamic markings but also the natural rise and fall
of the melodic line. Connections between phrases must be smooth.
Jerky cut-offs at the ends of phrases must be avoided. Violin
I often has an eighth rest at the end of a phrase, but other voices
often have a moving line which helps to connect one phrase to
the next.

Rhythm: A sense of on-going musical flow must be maintained.
Care is needed on tempo and metre changes. Entrances and cut-offs
must be precise.

MUSICAL CHARACTERISTICS

Form: A single free form movement, with some use of repetition.
The opening Violin I melody is repeated a perfect fourth higher,
beginning at the pick-up to bar 10, and a perfect fifth higher
beginning at the pick-up to bar 45.

Harmony: Tonal but with a good deal of rich chromaticism. Some
parallel movement of voices (e.g., octaves between Violin II and
Viola, bar 41 ff.; fourths between Violin I and II, bars 26-28).

Melody: Considerable use of conjunct motion which is in keeping
with the flowing legato style of the piece. Few large leaps.

Balance: The melodic line must be brought out as it passes
from voice to voice.

Blend: Good blend is needed to produce the rich, sustained
ensemble sound which is called for in this piece.

Fluency: Playing must be fluent in order to produce the required
smoothly flowing, cantabile style. Smooth bow changcs are necessary.

Intonation: Careful tuning is needed where chromatic changes
occur.

Phrasing: Players should feel the lyrical rise and fall of
the phrases and the smooth connection as one voice takes over
from another without a break in the phrase.

Rhythm: The tempo is slow, but it must not bog down. A sense
of on-going movement must be felt. Careful counting is needed
when metre changes occur.

MUSICAL CHARACTERISTICS

Form: A short, free form piece (only 25 bars in length), featuring
considerable use of repetition. (The rising and falling quarter
note figure which is played by the Cello in bar 11, recurs in
bars 12, 13, 14, and 15, passing from voice to voice and changing
key. The melody of the opening two bars returns in bars 18 and
19.)

Harmony: Tonal with some use of chromaticism. Begins and ends
in G+, but moves briefly through other keys.

Melody: Considerable use of conjunct movement. No large leaps
(mainly thirds and fourths).

Texture: Varied textures (homophonic and polyphonic, moving
from a single line to full orchestra). Where Bass plays, it doubles
the Cello line, sounding an octave lower than the Cello.

Timbre: No exploitation of timbre variations.

PEDAGOGICAL VALUE

Useful for developing smooth bow changes and a warm, sustained
tone. Provides valuable opportunities for working on expressive
ensemble playing.

Composer: GRATTON, HECTOR

Title: CHANSON INTIME

Instrumentation: Violin I, Violin II, Viola, Cello, Bass

Duration: 3'45''

Availability: Adaskin Project

Level: Medium

TECHNICAL CHALLENGES

I. LEFT HAND CHALLENGES

Finger patterns: Violin I has a moderate number of changes
of finger pattern (Easy and Medium patterns). The other instruments
have quite frequent changes of finger pattern (mainly Easy and
Medium patterns). Cello has frequent use of extensions.

Positions: Violin I and Cello use First to Fourth Positions.
Bass uses Half to Fifth-and-a-Half Positions. Violin II and Viola
can remain in First Position.

Shifting: Violin I and Cello have some straight forward shifting.
Bass has quite frequent shifting, with some large shifts. For
Violin II and Viola, no shifting is required, although some could
be used.

Chords: Violin I, Violin II, and Viola have a few two-note
chords at a moderate tempo. These could be played as chords or
divisi.

Pizzicato: There are several Bass pizzicato passages in the
score. (The Bass part is not the same as the Bass line in the
score.) Quick changes from arco to pizzicato are required. Rests
provide time to prepare for changes from pizzicato to arco.

III. LEFT-RIGHT HAND CO-ORDINATION CHALLENGES

Occasional demanding techniques in two hands simultaneously,
at a moderate tempo.

IV. ENSEMBLE CHALLENGES

Balance: Moving melodic lines must be brought out. Special
care is needed when Viola and Violin II have melodic material.

Blend: Voices must blend well when they move in melodic and/or
rhythmic unison or in octaves.

Fluency: Players must work to achieve a smoothly flowing cantabile
style throughout.

Intonation: Special care is needed when chromatic alterations
occur. Players must learn to hear dissonances and resolutions.

Phrasing: Phrases must be well shaped. Breath marks at the
ends of phrases should be observed.

Rhythm: Care is needed on syncopations and tempo changes.

MUSICAL CHARACTERISTICS

Form: Considerable use of repetition. Melodic material is repeated
exactly or with variations (e.g., the opening melody, played by
Violin I and II in unison, recurs in Violin II and Viola in bar
9 ff., in Viola at letter A, in Violin I and II at letter C, and
in Violin I and II at lettter G; the melodic material played in
octaves by Violin I and II at letter A recurs transposed and rhythmically
varied in Violin I and II at letter F and in Viola in the seventh
bar of letter F anq fragments of it recur in Cello at letter B).
Rhythmic figures are also repeated.

Harmony: Tonal. Begins in D+, and moves through F-sharp minor
and A+ before returning to D+. Bass provides the harmonic foundation.
Cello and Bass are sometimes doubled.

Instrumentation: "Any number of bowed string instruments
in any proportion." The orchestra is to be divided into four
equal parts.

Duration: 3-5'

Availability: Composer

Level: Medium

TECHNICAL CHALLENGES

I. LEFT HAND CHALLENGES

Finger patterns: All Violin and Viola notes can be played using
an Easy finger pattern, although more difficult patterns could
be used since players have the option of playing the indicated
pitches in any octave and of choosing their own pitches when X
or pizz. is indicated in the score. A Cello backward or forward
extension would be needed to play G-sharp in First Position. Cellists
might elect to make more use of extensions, depending on their
choice of octaves and pitches.

Positlons: Only First Position need be used, although players
may choose to use other positions.

Shifting No shifting is required, although players may choose
to shift.

Tone production: Long sustained bow strokes require good control
of bow speed, pressure, and sounding point in order to produce
the dynamic changes and "pleasing tone" called for in
the score.

Dynamics: The first section is to be played pp throughout.
Each note is to be played "as softly as possible on one bow,
while maintaining a pleasing tone." In the second section
there is a gradual crescendo from mp to ff. There is a gradual
decrescendo from f to ppp in the third section.

String crossings: Since players can proceed at their own rate,
they have time to prepare for string crossings. If students choose
to make large leaps, crossings to non-adjacent strings will be
required.

Pizzicato: Some pizzicato notes are used in section two. Since
players can proceed at their own rate from one note to the next,
they can take whatever time they need for changes between arco
and pizzicato.

III. LEFT-RIGHT HAND CO-ORDINATION CHALLENGES

No special challenges.

IV. ENSEMBLE CHALLENGES

Balance: No player should allow his sound to overbalance that
of the other players. Sensitive listening is needed throughout.
Experimentation with the instrumentation for each of the four
groups may be necessary to achieve good balance.

Blend: Each player must listen carefully to make his sound
blend with that of the other players.

Intonation: Each player must tune his own notes carefully.
He cannot count on tuning to the other players in the ensemble
since each player proceeds at his own rate and since there is

considerable freedom of choice of pitches in section two.

Rhythm: Players must watch the conductor for the cues to begin
sections two and three.

MUSICAL CHARACTERISTICS

Form: Three sections. Sections one and three involve long sustained
notes. Section two contrasts in that the length of notes becomes
shorter and some pizzicato notes occur. The order of pitches for
each group of instruments in section three is the reverse of that
in section one. In the first section, the succession of pitches
moves from the fourth group of instruments to group three to group
two to group one. The reverse occurs in section three. In performance
this effect may not be obvious since each player moves at his
own rate.

Harmony: On the fermata note at the end of each section, perfect
fifths and fourths are formed among the instruments as they play
Ds and As. Sections one and three also begin with all instruments
playing D or A. Section two begins with sustained Es in all instruments.
Elsewhere, dissonances are formed as players sustain various indicated
pitches, with each player proceeding at his own rate, or as each
player selects his own pitch.

Melody: No conventional melodic line. Since players can choose
the octave when a specific note name is indicated in the score,
and since they are given free choice of pitch when X or pizz.
is indicated, leaps may be large or small at the discretion of
the individual player.

Rhythm: Free. No traditional rhythmic notation. All players
begin together, but each player proceeds from one note to the
next at his own rate until he reaches a fermata which he holds
until all players reach the fermata, at which point the conductor
gives a cue to proceed to the next series of notes. In sections
one and three, each note is to be held as long as possible in
one bow stroke by each player while maintaining a pleasing tone.
In the second section, durations become shorter. Some pizzicato
notes occur which of course will be shorter in duration than the
bowed notes.

Texture: The orchestra is divided into four equal parts. Texture
is thick with all instruments playing throughout and each player
proceeding at his own rate. Texture will sound somewhat thinner
in the second section because of the occurrence of some pizzicato
notes.

Timbre: Contrasts between grand detache and pizzicato are featured.
The choice of instrumentation in a given performance will affect
the timbre. There is considerable freedom of choice since the
piece is written for "any number of bowed string instruments
in any proportion."

PEDAGOGICAL VALUE

Since each player has considerable freedom of choice, each
can make his part as challenging as he wishes. Each part is equally
important in creating a musical whole, although no part could
stand on its own musically. The piece is valuable for developing
bow control, aural awareness, and ensemble sensitivity. An interesting
introduction to non-traditional notation. Provides useful opportunities
for analysis.

Composer: KEANE, DAVID

Title: THE OREADS

Instrumentation: "Any number of bowed string instruments,
in any proportion. The orchestra should be divided into two groups:
10 to 20 percent of the players in group 2 (reading the lower
part) and the remaining players in group I reading the upper part."

Duration: 4'

Availability: Composer

Level: Medium

TECHNICAL CHALLENGES

I. LEFT HAND CHALLENGES

Finger patterns: Players have considerable freedom to choose
pitches within the ranges specified in the score. (A note near
the top of a box is to be played in the upper register of the
instrument. A note near the bottom of a box is to be played in
the bottom part of the instrument's range.) Players can choose
simple finger patterns if they wish.

Posltions: Players can choose to perform the piece using only
First Position, interpreting notes near the top of boxes as being
on the instrument's top string, or players can elect to use higher
positions.

Shifting: Players can choose the types and amount of shifting,
if any.

Flnger dexterity: Slow to moderate speed of finger changes.

Special effects: Quite extensive use of glissando. Players
are asked to follow graphically notated glissando patterns. Specific
starting and stopping pitches are not indicated. Left hand pizzicato
can be used when changes between arco and pizzicato must be done
quickly. Other special effects might be used in the free improvisation
section after letter C.

II. RIGHT HAND CHALLENGES

Types of bowing: Detache. Free bow changes can be made on the
glissando patterns. Other types of bowing may be used in the improvisatory
section.

Tone productlon: Good control of bow speed, pressure, and sounding
point is needed to produce the required dynamic changes.

Dynamlcs: Wide dynamic range (ppp to ff). Frequent dynamic
changes.

Strlng crossings: Students have considerable freedom to determine
the amount of string crossing which they will make.

Chords: No chords are specified, but some may be used in the
improvisatory section.

Plzzicato: Some pizzicato at a moderate tempo. Some changes
between arco and pizzicato occur quickly.

III. LEFT-RIGHT HAND CO-ORDINATION CHALLENGES

No special challenges.

IV. ENSEMBLE CHALLENGES

Balance: Balance between the 2 groups requires special care
since the groups are uneven in numbers and are separated from
each other according to Keane's directions. ("Group 2 should
be placed as far away from group I as possible but where group
2 will still be able to see the conductor.")

Blend Good blend of sound must be sought within each group
of instruments. Sensitive listening is required, and some experimentation
with the instrumentation of each group may be needed.

Fluency: Smooth bow changes are needed on the glissando patterns
in order to achieve fluency in these passages.

Intonation: Each player must tune his own notes carefully.
He cannot count on tuning other players except where specific
pitches are indicated (D and C in line 2).

Rhythm: Players must count carefully during the glissando passages.
Group 2, which is placed at a distance from group I and from the
conductor, must watch, listen, and count with special care.

MUSICAL CHARACTERISTICS

Form: Canonic. Group 2 echoes group I except in the final section
(section D) where group I echoes group 2. Imitation is not exact
since individual players choose their own pitches. As the composer
indicates in the score, "if the direction of each interval
follows that indicated by the score, the melodic contour along
with the rhythm will be sufficiently precise to make effective
echoes."

Harmony: No conventional harmonic movement. Players have considerable
freedom to choose pitches within the ranges specified in the score.
As the score suggests, "rather dense chords will be produced."
Only in the second line of the score are specific notes named
(D twice, C once). Octaves and unisons will result in the group
playing those notes.

Melody: No conventional melody. Keane provides only a general
melodic contour which each player interprets in his own way.

Rhythm: Moderate tempo (Andante). 4/4 metre except for the
free improvisation section after letter C in which there is no
steady beat indicated. Where traditional rhythmic notation occurs,
simple patterns are used.

Texture: The orchestra is divided into 2 groups, with group
2 being considerably smaller than group 1. (Group 2 contains 10
to 20 percent of the players.) Physical set-up of the orchestra
is specified in the score. "Group 2 should be placed as far
away from group I as possible but where group 2 will still be
able to see the conductor (for example: at the back of the audience;
in a balcony; or off stage)." Textures vary. Sometimes the
groups alternate bar by bar, one group playing while the other
rests. Sometimes both groups play, with the echoing group following
along one bar after the first group. There is a bar of silence
3 bars before letter A.

Timbre: Changes between detache notes, glissando effects, and
pizzicato are exploited. Dynamic variations also affect timbre.
Other variations in timbre may be used in the free improvisation
section after letter C.

PEDAGOGICAL VALUE

Effective organization of simple musical materials. Every player
contributes to the musical whole although no one line is musically
interesting in itself. Since players have considerable freedom
in selecting pitches, they can make their parts more or less challenging.
The piece is useful for developing aural sensitivity and ensemble
playing skills. Provides opportunities to work on tone production
and to analyse an avant-garde composition. An interesting introduction
to graphic notation.

Composer: KEANE, DAVID

Title: SUR LE PONT

Instrumentation: Flexible ("Any number of bowed stringed
instruments in any proportion")

Duration: 3'

Availability: Composer

Level: Medium

TECHNICAL CHALLENGES

I. LEFTHAND CHALLENGES

Finger patterns: Except where specific open strings are indicated,
players have freedom to choose which notes to play. Only simple
finger patterns need be used.

Positions: Players need not move out of First Position unless
they wish to do so.

Shifting: No shifting is necessary.

Finger dexterity: Players can limit the number and speed of
finger changes, keeping technical demands to a minimum.

Special effects: None are specified.

II. RIGHT HAND CHALLENGES

Types of bowing: All instruments play long and short detache
bow strokes using not only the normal contact point (between bridge
and fingerboard) but also unusual contact points (near the bridge,
on the bridge, and between the bridge and tailpiece). At the end
of the piece, each player must move his bow without actually touching
his instrument. Players in group 1 also use tremolo. Group 2 players
also use accented detache.

Tone production: Good control of contact point is needed since
considerable variation is required. Changes of bow speed and pressure
are also needed.

Dynamics: Wide dynamic range (pp to ff). Some dynamic changes
are sudden (e.g., pp mf ff pp on 4 successive notes at the end
of line 2); some changes are gradual (e.g., crescendo from pp
to ff through the fourth line, and decrescendo from ff to pp through
the final line). The piece ends "one degree softer than playing
as soft as possible" as players move their bows without touching
their instruments.

String crossings: Where string crossings are required, they
occur at a slow tempo, usually to adjacent strings. Where players
can choose which pitches to play, the number and speed of string
crossings can be limited.

Pizzicato: Pizzicato notes are written in the second line of
the score for group 2. Included is one ff requiring a pizzicato
"snap" of the string against the fingerboard.

III. LEFT-RIGHT HAND CO-ORDINATIONCHALLENGES

No special challenges.

IV. ENSEMBLE CHALLENGES

Balance: Good balance between the 2 groups of players should
be sought.

Blend: Each player should blend his sound with that of the
other players in his group. Special care is needed on the long
crescendo in line 4 and the long diminuendo in line 5.

Rhythm: A steady rhythmic pulse should be maintained in lines
1, 3, and 5. In line 2, players must watch the conductor on the
pauses.

MUSICAL CHARACTERISTICS

Form: The piece is in 5 sections. There is considerable use
of repetition. The first section features a 4-bar ascending open
string pattern which is repeated sul ponticello, then again with
the bow between the bridge and tailpiece. The fifth section features
a 4-bar pattern similar to that in the first section except that
descending open strings are used. The pattern is repeated near
the bridge, then between the bridge and tailpiece, and then on
the bridge. Finally the players move their bows as if playing
the pattern, but without contacting the instruments. Section 3
features the same rhythmic pattern as the first and fifth lines
except that group 1 now plays the rhythm previously played by
group 2, and vice versa. The pattern is repeated as in the first
line (sul ponticello, then between bridge and tailpiece). The
second and fourth sections contrast with the steady rhythmic pulse
of the other sections. The second section features many pauses.
The fourth section builds dynamically and speeds up. In the middle
3 sections, players are free to choose their own pitches.

Harmony: No conventional harmonic movement. When open strings
are indicated in the score, chords will be formed as each instrument
plays its lowest string and ascends string by string to its highest
string (line 1), or moves from its highest to lowest string (line
5). In line 1, E (Bass), C (Cello and Viola), and G (Violin) will
sound simultaneously, followed by A G D, D A, and finally G A
E. Where players can choose their own pitches (lines 2, 3, and
4), dissonant clusters of sound will result.

Melody: No conventional melody. In the first and final sections
of the piece, only open strings are used. In the other sections,
each player selects his own pitches.

Rhythm: Tempo is moderate and metre is 4/4 except in line 4
where each player chooses his own rhythm, "beginning with
very quiet long tones and very gradually becoming louder and faster."
Where conventional rhythmic notation is provided, patterns are
simple, using whole, quarter, and eighth note values. The rhythm
of lines 1, 3, and 5 is identical except that the 2 groups exchange
parts in line 3. Line 2 features pauses in every bar.

Texture: The orchestra is divided into 2 groups of equal size.
Texture will sound thicker than 2 parts since all the players
in a group do not play the same pitch. Line 4 will sound particularly
thick as players choose their own pitches, build dynamically,
and speed up their rhythmic movement.

Timbre: Various contrasting timbres are used. Normal detache
bowing contrasts with bowing near the bridge, on the bridge, and
between the bridge and tailpiece. Also featured are contrasts
between normal and "snap" pizzicato (produced by plucking
the string so that it strikes the fingerboard).

PEDAGOGICAL VALUE

Effective use of simple musical materials. All players have
opportunities to make their own musical decisions. Since players
have considerable freedom of choice, they can make their own parts
more or less challenging as they wish. The piece is useful for
developing bow control and listening skills. Aids ensemble development.
Provides interesting exposure to contemporary sounds and notation.
Useful in a situation where there is irregular instrumentation
or an unusual balance in numbers of instruments.

Composer: KEANE, DAVID

Title: TONDO

Instrumentation: String ensemble (flexible instrumentation)

Duration: 3'

Availability: Composer

Level: Medium

TECHNICAL CHALLENGES

I. LEFT HAND CHALLENGES

Finger patterns: Since players have the freedom to choose their
own notes, they can use only simple finger patterns if they wish.

Positions: Players can use only First Position if they wish.

Shifting: Players can avoid shifting if they wish.

Flnger dexterity: Slow to moderate speed of finger changes.

Special effects: None are specified in the score. Left hand
pizzicato could be used for the single pizzicato note in line
4.

II. RIGHT HAND CHALLENGES

Types of bowing Tremolo and long sustained bow strokes (changing
bows where necessary on long held notes). In the free improvisation
boxes in lines 2 and 3, players can choose whatever bowings they
wish to use.

Tone production: Good control of bow speed, pressure, and sounding
point is needed to produce the required dynamic changes. Bow changes
must be smooth.

Dynamics: Wide dynamic range (pp to ff). Quite frequent dynamic
changes. (In line 4, there is a dynamic change on each note.)

String crossings: Since players have considerable freedom of
choice, they can control the amount of string crossing.

Pizzicato: One pizzicato note in line 4.

III. LEFT-RIGHT HAND CO-ORDINATION CHALLENGES

No special challenges.

IV. ENSEMBLE CHALLENGES

Balance: Since instruments are set up in a circle around the
room, sensitive listening is needed to achieve good balance. Experimentation
with instrumentation and physical set-up may be necessary.

Blend: Each player must work to blend his sound with that of
the other players around the room.

Fluency: Smooth bow changes are needed to avoid a choppy effect.

Intonation: Each player must tune his own notes carefully.
Where he enters playing the same note as the previous player (in
unison or octaves), he must listen and adjust if necessary.

Rhythm: Each player must watch the conductor carefully for
the cue to begin each successive box. Foot-tapping must be steady
throughout.

MUSICAL CHARACTERISTICS

Form: The piece consists of 5 sections, one per line of the
score. The first section features a kind of canon as players enter
one by one, following the conductor's cues as he turns around
the circle in a clockwise direction. Each player follows the same
written instruction in the score, but there is considerable individual
freedom of choice. (Where a specific pitch is indicated, the individual
can play the pitch in any octave. Where X is indicated, the player
can choose whatever pitch he wishes.) The piece begins with slow
steady foot-tapping as one player after another enters. The tapping
continues throughout the piece. The final section (line 5) features
a reverse of the instructions of the first section. The piece
ends as it began with foot-tapping, with one player after another
dropping out as the conductor cues the players in a clockwise
direction. The second and fourth sections are not canonic. All
players move together from one box to the next. The third section
is canonic. Players enter one by one as the conductor cues in
a counterclockwise direction.

Harmony: No traditional harmonic movement. The first and last
pitch sounded is E. Where a specific pitch is indicated in the
score, each instrument plays that pitch, but the choice of octave
is free. Dissonances will be formed as players move one by one
from one box to another. (In line 1, players move one by one from
the E in box 2 to the F in box 3 as the conductor cues them in
a clockwise direction around the circle.) Where X is indicated,
each player has free choice of pitch. Clusters of sound will result.

Melody: No conventional melody.

Rhythm: Slow steady foot-tapping provides a rhythmic ostinato
throughout. No conventional rhythmic notation is used. Players
enter when cued by the conductor, and hold their notes until cued
to begin the next box. Where three x's in a box are indicated,
the player can select any series of pitches using any rhythm.
Keane suggests: "It is best to keep the pitches and rhythms
simple and repetitive."

Texture: Texture changes are exploited. Players sit in a circle
around the audience. In the first and fifth sections, one player
after another enters as the conductor cues the players around
the circle in a clockwise direction. In the third section, players
enter one by one as the conductor cues them around the circle
in a counterclockwise direction. In the second and fourth sections,
the texture is thick throughout as all players move together following
the instructions in the series of boxes. The piece ends with a
gradual thinning of texture as one player after another stops
playing, and then as one by one they stop the foot-tapping.

Timbre: Various timbres are used: contrasting string sounds
(e.g., tremolo, pizzicato, and long held bowed notes) and some
non-string sounds (e.g., foot-tapping and sung "ah").

PEDAGOGICAL VALUE

Effective use of simple musical materials. Each part is interesting
as it contributes to the musical whole. Each player makes his
own musical decisions and can work at his own level of technical
ability. The piece can aid the development of aural skills and
ensemble sensitivity. Provides exposure to avant-garde sounds
and graphic notation. Interesting for analysis. Useful for a group
with irregular instrumentation or with an unusual balance in the
numbers of instruments.

String crossings: Players generally stay on one string or move
to an adjacent string.

Chords: Violin I has tremolo and pizzicato two-note chords,
a few pizzicato four-note chords, and one detache four-note chord.
The other instruments have tremolo two-note chords. Viola I and
II, Cello I and Bass also have detache two-note chords. Viola
II has one detache fournote chord, and Cello I has one detache
three-note chord.

Pizzicato: Violin I and Bass have regular and snap pizzicato
at a moderate tempo, with time to prepare for changes between
arco and pizzicato.

III. LEFT-RIGHT HAND CO-ORDINATION CHALLENGES

Since no left hand fingering is required, players can concentrate
on right hand challenges.

IV. ENSEMBLECHALLENGES

Balance: Good balance is needed between Bass and upper voices
in the B section.

Blend: Tremolo chords require good blend of sound.

Fluency: In the B section, the quarter notes must be tossed
back and forth fluently between sections of the orchestra.

Intonation: No intonation problems since only open strings
are used.

Rhythm: Players must count carefully on the long tremolo notes
and must watch the conductor for cues on entrances and cut-offs
and on tempo changes. A steady quarter note pulse must be maintained
in the B section. Metre changes must be observed.

MUSICAL CHARACTERISTICS

Form: Shows features of A B A and arch form. The section from
bar 54 to the end is basically a mirror of bars 1-12, but extended.
The "con energia" B section (bars 24-45) contrasts with
the tremolo A section (bars 1-23 and bar 46 to the end). The overall
dynamic shape (crescendo, diminuendo) reinforces the arch effect.

Harmony: Only open strings are used. These form a diatonic
pentatonic scale on C (C D E G A). Frequent open fifths (in Violins,
Violas, Cellos), and open fourths (Basses). No conventional harmonic
movement.

Melody: No melodic interest. Only open strings are used, and
these are sustained or repeated. The focus is on timbre and rhythm
rather than on melody.

Rhythm: The A section is in 2/4, but there is little sense
of rhythmic pulse because tremolo notes are maintained throughout.
The B section features changes of metre (2/4, 3/4) with a strong
constant quarter note pulse. Bass and upper voices answer back
and forth with quarter notes separa,ted by rests. The piece begins
and ends with quarter note = 84. An accelerando at bar 21 leads
into quarter note = 112 in the B section (bar 24 ff.), and a ritard
beginning in bar 50 leads back to quarter note = 84 in bar 54.
Rhythmic patterns are easy, featuring half, dotted half, and quarter
note values. There are many tied notes and many accents.

Texture: Textures vary. Layered effects are featured. The piece
begins and ends with a sustained tremolo note. In the opening
bars, texture gradually thickens as voices enter one by one, and
each section of the orchestra moves from tremolo on a single pitch
to tremolo on a two-note chord. The use of divisi Viola, Cello,
and Bass contributes to the thickening texture. From bar 54 to
the end, texture becomes gradually thinner. Section B features
voices answering back and forth.

Timbre: Timbre changes are exploited. The A section features
tremolo using a normal sounding point, and also "sul tasto"
and "sul ponticello." The B section features contrasts
between normal pizzicato, snap pizzicato, detache, accented detache,
and tremolo.

PEDAGOGICAL VALUE

Provides useful rhythmic and ensemble training. Aids the development
of bow control. Interesting for formal analysis.

Composer: PEPA, MICHAEL

Title: PRELUDE AND FUGUE

Instrumentation: Violin, Viola, Cello, Bass

Duration: 3'

Availability: Composer

Level: Medium

TECHNICAL CHALLENGES

I. LEFT HAND CHALLENGES

Finger patterns: Moderate number of changes of finger pattern
in "Prelude." More frequent and rapid changes of finger
pattern in "Fugue." Patterns are mainly Easy or Medium.

Positions: All Violin and Viola notes are playable in First
Position. Some use of Violin Second and Third Positions and Viola
Third Position would help avoid open strings and string crossings.
Cello must make one shift to Second Position in "Prelude."
Bass uses Half, First, and Second Positions in "Prelude,"
First and Third Positions in "Fugue."

Shifting: Shifting is not essential for Violin and Viola, but
some shifts to Second and Third Positions are advisable for Violin,
and occasional shifts to Third Position are advisable for Viola.
Cello must make one shift between First and Second Positions in
"Prelude." Bass has some straight forward shifts in
"Prelude" and "Fugue."

Finger dexterity: Moderate speed of finger changes in "Prelude,"
with a moderate number of fingered string crossings. In the "Fugue,"
running sixteenths require good dexterity. Rapid changes of finger
and frequent fingered string crossings need special attention.

Tone production: "Prelude" requires a moderate amount
of variety in bow distribution, speed, pressure, and sounding
point. Good control of tone is needed on cantabile passages. Tone
in the "Fugue" must be clean and clear. Changes from
running sixteenths to longer note values require careful changes
of bow speed, pressure, and sounding point. Added weight is needed
on accents.

Dynamics: Narrow dynamic range (p to mf) in the "Prelude,"
with some subtle changes (e.g., mp cresc. mf dim. mp) following
the natural rise and fall of the melodic line. Wider dynamic range
(p to ff) in the "Fugue," with some gradual dynamic
changes (cresc. and dim.) and some terraced dynamics. Dynamic
changes often occur after a rest, allowing time to prepare.

String crossings: Moderate number of crossings to adjacent
strings in the "Prelude." Some of these can be avoided
by use of Violin Second and Third Positions. Bass has some pizzicato
crossings from A to G string. "Fugue" requires quite
frequent crossings to adjacent strings. Crossings on running sixteenths
require good control of right hand and arm level. Bass has some
crossings to non-adjacent strings, mainly pizz.

Chords: Two-note Viola and Cello chords in "Prelude"
are to be played divisi.

Pizzicato: Only Bass has pizz. The "Prelude" features
pizz. quarter and eighth notes at a slow tempo, with time to prepare
for changes between pizz. and arco. "Fugue" tempo is
lively, but there are no pizz. notes shorter than an eighth, and
rests provide time to prepare.

III. LEFT-RIGHT HAND CO-ORDINATION CHALLENGES

"Fugue" is challenging because of the speed of right
and left hand movements which must be exactly co-ordinated, especially
when finger pattern changes and string crossings occur simultaneously.

IV. ENSEMBLE CHALLENGES

Balance: Balance between melody and accompaniment requires
sensitive listening and adjusting in the "Prelude."
"Fugue" subject must be prominent as it passes from
voice to voice.

Blend: In the "Prelude," Viola and Cello require
good blend of tone on divisi accompanying quarter notes. Blend
is also important on the melodic line. In the "Fugue,"
each voice must achieve a good blend of tone to aid the clarity
of the polyphonic movement of voices.

Fluency: In the "Prelude," the melodic line must
be smooth and fluent. Accompanying parts must follow the flow
of the melody. In the "Fugue," running sixteenth notes
must be very fluent. Players must feel the on-going musical flow
of the fugue subject.

Intonation: Players must think vertically and horizontally
when considering tuning. Intonation within each section and between
sections requires work.

Phrasing: In the "Prelude," players should think
in 4-bar phrases and should be aware that moving eighths link
one phrase to the next. In the "Fugue," players should
feel the phrasing of the subject to avoid a mechanical note-by-note
effect.

Rhythm: In the "Prelude," the accompanying quarter
notes must be steady but not too metronomic, and must follow the
flow of the melodic line. Bass pizz. notes must not rush. In the
"Fugue," a steady tempo must be maintained. Fugal entries
must be clean and precise. Entries after rests require special
care.

MUSICAL CHARACTERISTICS

Form: A B A "Prelude." Three-voiced "Fugue."

Harmony: "Prelude" begins and ends in A-, with modulation
to C+ (relative major) at the end of the first section. "Fugue"
begins in A-. There is considerable chromatic alteration, especially
between C and C-sharp, F and F-sharp, D and D-sharp, G and G-sharp,
B and B-flat. In the final 3 bars, Cello and Bass play an A pedal.
The final chord is A+.

Melody: "Prelude" features a cantabile melody in
Violin with considerable use of melodic sequences. At letter A
the cantabile melodic figure appears in Viola, contrasted with
ascending arpeggio figures in Cello. A descending scale figure
recurs throughout the B section (letters A to B), passing from
voice to voice. In the "Fugue" subject, descending perfect
fourth and ascending minor third are answered by descending perfect
fifth and ascending perfect fourth. There is considerable conjunct
motion in running sixteenth passages, with prominent ascending
leap of a perfect fifth.

Rhythm: "Prelude" is Lento, 4/4 ( quarter note =
54). There is a ritard before letter B, and an "a tempo"
at letter B. "Fugue" is Allegro, 3/4( quarter note =
80). There is a poco rit. in the final 2 bars.

Texture: "Prelude" features thick homophonic texture
in A section. Divisi Viola and Cello provide chordal accompaniment
to Violin melody. Thinner texture and more independence of voices
in B section. Fugue texture is polyphonic. Viola begins, followed
2 bars later by Violin. Cello enters in bar 6. Bass sometimes
doubles Cello but never plays the full subject.

Timbre: Contrasts between the cantabile style of the "Prelude"
and the more rhythmic detache running sixteenths of the "Fugue,"
and between Bass pizz. and arco in the other instruments.

PEDAGOGICAL VALUE

Useful for teaching prelude and fugue form and for studying
sequences. An interesting example of twentieth-century use of
Baroque form and style. Valuable for developing aural and ensemble
skills because the melody passes from part to part in both movements.
Players must listen to the other voices, get their cues for entries
from other voices, and work on balance between voices. "Fugue"
is useful for developing technical facility in running sixteenths.

Composer: PEPA, MICHAEL

Title: SIMPLE SUITE FOR STRINGS

Instrumentation: Violin I, Violin II, Viola, Cello, Bass

Duration: 6'30''

Availability: Composer

Level: Medium

TECHNICAL CHALLENGES

I. LEFTHAND CHALLENGES

Finger patterns: Patterns are mainly Easy and Medium.

Positions: Upper strings use only First Position, except where
Violin II and Viola have free "echo glissando" slides.
Cello uses Half and First Positions. Bass uses Half, First, Second
and Third Positions.

Shifting: In Movement IV, all instruments except Violin I have
free shifts up for "echo glissando." In Movements III
and IV, Cello shifts between First and Half Positions. Movements
IV and V require some Bass shifting.

Dynamics: Range is from ppp to ff. Quite frequent dynamic changes,
some rapid, some subtle.

String crossings: Movements I and V have a moderate number
of bowed string crossings. Cello has repeated slurred crossings
in Movement III. Elsewhere in Movements II and III, there are
few string crossings. Movement IV has repeated slurred crossings.

Chords: Some pizz. chords in Movements I and II. Violins have
bowed 2-note chords in Movements III and IV. 3 and 4-note ricochet
chords in Movement III should be divisi. In Movement III, Viola
and Cello have 2-note tremolo chords but other chords should be
divisi.

Pizzicato: Movements I and II require some pizz. All instruments
have some pizz. in Movement IV, including 2 snap pizz. notes.
Bass has one pizz. passage in Movement V.

III. LEFT-RIGHT HAND CO-ORDINATION CHALLENGES

Generally, there are minimal technical demands in one hand
when the other hand has a demanding technique. In Movement V,
Violin I finger pattern changes and string crossings must be well
co-ordinated.

IV. ENSEMBLE CHALLENGES

Balance: Good balance is needed between moving melodic lines
and accompanying voices, especially in Movement II where Viola
plays the melody. In the pizz. passages in Movement IV, there
must be good balance among the various instruments so that a unified
ensemble effect is produced from the assorted pizz. notes played
by Violin II, Viola, Cello and Bass.

Blend: Good blend of sound is needed when voices move in rhythmic
unison.

Phrasing: Players should observe dynamic markings which indicate
the rise and fall of phrases.

Rhythm: Players must observe accents, count rests carefully,
move together on rhythmic unisons, and observe metre and tempo
changes. In Movement III, players must watch the conductor for
cues following pauses or bars where the duration is indicated
in seconds. Movement IV pizz. notes must be accurately placed.

Harmony: Movement I lacks conventional harmonic motion. It
is built on a simple pentatonic melody. Movement II is in the
Phrygian mode on A (A Bb C D E F G). Movement III uses many dissonant
chords. Repeated Cello chromatic figure in bars 2-9. Bass line
centres on D and A. Movement IV lacks conventional harmonic motion.
It opens with the building up of a dissonant tone cluster. Image
I features isolated pizz. notes and concludes with B-flat octaves
moving to A-flat octaves. Image II features percussive sounds
followed by a repeated C-sharp G pattern in Cello and Bass. This
pattern continues throughout Image III, over which wavering figures
in upper voices move. These figures use minor and major sevenths.
Movement V is atonal, based on a 12-note row.

Rhythm: Movement I is in 2/2 with a steady pulse, Alla marcia,
half note = 72. Simple rhythmic figures are repeated. Movement
II is in 4/4 ( quarter note = 60-66). Elementary rhythmic patterns.
Frequent ties over the barline. Movement III explores accel. effects.
Some are precisely notated, others are freely notated. Metre changes
occur (6/8 with the indication " dotted quarter note = slow
to fast" in bar 2; 4/4 with quarter = 88 in bar 13; 5/4,
4/4, 3/4, 2/4 in bars 22-25 with the quarter note constant, producing
an accel. effect since the orchestra plays only on beat one of
each of these bars). Some rhythmic unisons. Movement IV begins
in 4/4 ( quarter note = 60). Some freely notated bars, interspersed
with 4 bars. The final bars of Image II and all of Image III are
in 9/8 (2+2+2+3), eighth = 120. Viola and Violins produce free
wavering effects over steady Cello eighths. Players are asked
to "project the impression of spontaneity" in Movement
IV. Movement V is in 4/4 ( quarter = 76-88). Elementary rhythmic
patterns. Steady quarter note pulse in at least one voice in all
but the final 3 bars.

Texture: Movement I features some rhythmic unison and some
independent voice movement. Movement II has moving melodic lines
in the upper voices with Cello and Bass harmonic and rhythmic
support. Movement III textures vary from a single line to full
texture including some divisi chords. Movement IV begins with
a layered effect as a tone cluster is built up. Image I texture
is thin. Image II features 2 thinly scored percussive bars separated
by 2 bars with 4-part texture. Concludes with 4 bars of repeated
Cello eighth notes with Bass punctuation at the beginning of each
bar. Texture becomes thicker in Image III as wavering figures
are added in upper voices over the Cello and Bass ostinato. Movement
V has Violin I and Bass melodic lines with a repeated quarter
note figure in Viola, joined sometimes by Cello, sometimes by
Violin II. All voices move together on the final 3 chords.

Timbre: Various timbres are explored (e.g., tremolo with normal
sounding point and sul ponticello; ricochet; smooth slurs; accented
detache; regular and snap pizz., with gliss. effects on some pizz.
notes; effects produced by "wavering" between strings;
knuckle taps on the back of the instrument; gliss. effects produced
by rubbing the back of the instrument with the hand).

Dynamics: Moderate number of dynamic changes. Range is from
ppp to ff.

String crossings: Moderate number of bowed string crossings,
almost all to adjacent strings. Violin II and Cello have some
repeated pizz. string crossings.

Chords: Violin I has one non-divisi 2-note chord in Variation
II. Violin II has repeated 4-note pizz. chords in Fugue. Viola
has 3 and 4-note pizz. chords. Cello 2-note pizz. chord at the
end of Theme is to be played divisi.

Pizzicato: Theme involves isolated pizz. notes in all voices.
Violin II has repeated pizz. figures in the Fugue, with time to
prepare for changes between arco and pizz. Viola has repeated
3-note pizz. chords throughout Variation I, and repeated 4-note
pizz. chords in Fugue, with one quick change from pizz. to arco.
Cello plays pizz. in the final bars of Variation III. Quick change
from arco to pizz. may necessitate the use of left hand pizz.
on the first open D of the pizz. passage. Bass has slow pizz.
(whole notes) in Variation I, with a quick change to arco for
the final note. Variations II and III require Bass pizz. at a
moderate tempo with rests providing ample time for changes. Bass
pizz. passage in Fugue requires some rapid crossings to non-adjacent
strings, and one quick change from pizz. to arco.

III. LEFT-RIGHT HAND CO-ORDINATION CHALLENGES

No special challenges.

IV. ENSEMBLE CHALLENGES

Balance: Theme requires pizz. notes in all voices to be well
balanced to produce a unified melodic line. Variations and Fugue
require good balance so melody can be heard as it passes from
voice to voice.

Blend: Good blend of sound is needed when voices move in rhythmic
unison. Fluency: The Frere Jacques melody must be fluently played
in all its various guises.

Intonation: Dissonances must be carefully tuned.

Phrasing: Theme requires a well shaped phrase line even though
each voice plays only individual notes. Variations and Fugue need
well shaped phrases, following the dynamic markings.

Rhythm: Theme requires accuracy in placing the pizz. notes
in each voice, exactly in tempo. Players must count rests and
make entries accurately in Variations and Fugue. Grace notes in
Fugue must be carefully played before the beat. Players must watch
the conductor for tempo changes. Metre changes must be observed.
7/8 metre in Fugue needs special care.

MUSICAL CHARACTERISTICS

Form: Theme with 3 variations, followed by a fugue. Variation
I is constructed on a ground bass. Variation II consists of 3
sections and a coda. (Sections 1 and 2 are binary in form. Section
3 features augmentation of the theme.) Variation III is a round
with a Bass ostinato. Fugue features exposition, episodes, and
stretti.

Harmony: Theme is in C diatonic pentatonic (C D E G A). Theme
is treated pointillistically with only single notes or octaves,
no chordal harmonization. Variation I uses the Hirajoshi pentatonic
scale on G (G A B-flat D E-flat), and is built on a ground bass
(B-flat E-flat G D A). Pepa notes on page 132 of Arche that Variation
I "resolves on a chord that includes B", thus creating
a quasi 'tierce di picardie effect."' Variation II alternates
between 2 pentatonic scales: D Kumoi (D E F A B) and D Hirajoshi
(D E F A B-flat). It ends in D diatonic pentatonic (D E F-sharp
A B). Variation III features bitonality: G diatonic pentatonic
(G A B D E) and D Pelog (D E-flat F A B-flat), with a D A ostinato.
Fugue subject is in G Kumoi (G A Bb D E), and the answer is in
D diatonic pentatonic (D E F-sharp A B), and thus, Pepa notes,
"the tonic-dominant relationship is implied" (Arche,
p. 133).

Melody: Theme is a pentatonic version of Frere Jacques, treated
pointillistically, using open strings only. There are wide leaps
as notes are passed from voice to voice. The 3 variations are
based on the theme. Fugue subject and answer are ornamented versions
of the theme.

Rhythm: Theme is in 4/8 ( eighth= 68) with a rallentando in
the final 2 bars. Variation I is in 4/4 (quarter= 68) with a poco
rit. in the final 2 bars. Variation II begins in 6/8 ( dotted
quarter = 72); the second section changes to 2/4 ( quarter = 108);
the third section changes to 4/4 (quarter = 54); the coda returns
to 2/4 ( quarter = 108). Variation III is in 4/4 ( quarter = 68).
Fugue is in 7/8 metre (3+2+2), with eighth = 172, and a poco rit.
in the final 2 bars.

Texture: Varieties of texture are used. Theme is pointillistically
orchestrated, passing note by note from one voice to another.
Variation I features melody in Violin over a ground bass (Cello
and Bass). Variation II, section 1, moves from 2-part texture
to 3, 4 and 5 parts. Section 2 features solo Violin I, Viola,
and Cello, with tutti Violin I, Viola, and Cello on the repeat.
Section 3 features Bass theme with the other voices providing
tremolo accompaniment. Coda features layered effects as it moves
from 2 parts to 3, 4 and 5. Variation III also features layered
effects. Viola begins the round, followed 2 bars later by Cello.
In bar 7 Violin I enters, followed 2 bars later by Violin II.
Bass provides an ostinato. Fugue features gradually thickening
polyphonic textures. Violin I begins with the fugue subject, answered
in bar 5 by Viola. Cello enters with the subject at letter A.
Violin II answers 2 bars before letter B. Bass plays the subject
augmented, beginning the seventh bar of B.

This composition provides useful aural, rhythmic, and ensemble
training. It is interesting for the study of pentatonic scales.
Useful for analysis of compositional techniques and forms (e.g.,
pointillism, bitonality, theme and variations, fugue).

Composer: SCHIPIZKY, FREDERICK

Title: CHILDREN'S SUITE

Instrumentation: Violin I, Violin II, Viola, Cello, Bass (optional)

Duration: 4'

Availability: CMC

Level: Medium

TECHNICAL CHALLENGES

I. LEFT HAND CHALLENGES

Finger patterns: Easy finger patterns. Violin I has limited
changes of pattern. The other instruments use a single pattern
throughout.

Positions: Playable throughout in First Position. Violin I
could use Third Position in Movement III on sixteenth note passages
to avoid repeated string crossings.

Shifting: No shifting is required, although Violin I could
shift to Third Position in Movement III for sixteenth note passages.

String crossings: Violin I has repeated crossings between A
and E strings on sixteenth note passages if First Position is
used. (Repeated crossings can be avoided if Third Position is
used.)

Chords: Violin I, Violin II, and Viola have some two-note chords.

Pizzicato: All instruments play Bartok pizzicato in Movement
III. Quick change required between arco and pizzicato. Half the
Cello section plays two pizzicato notes in Movement II. There
is sufficient time to prepare for the change between arco and
pizzicato. Bass has frequent use of pizzicato, usually with ample
time to prepare for changes between arco and pizzicato.

III. LEFT-RIGHT HAND CO-ORDlNATlON CHALLENGES

Violin I, Violin II, and Viola need good co-ordination between
left and right hands on fingered sixteenth notes in Movement III.

IV. ENSEMBLE CHALLENGES

Balance: Good balance between melody and accompaniment is needed.

Blend: Good blend of sound is needed, especially where voices
move in rhythmic unison.

Fluency: Fingered sixteenth notes in the upper strings in Movement
III must be fluently played.

Phrasing: Special care is needed where commas are indicated
at the ends of phrases.

Texture: Generally thick texture, except that Bass is not used
in some sections of the piece. Some doubling of Violin I and II,
and of Cello and Bass (sounding in octaves).

Timbre: Some variety in timbre is provided by changes of dynamic
level, and changes between arco and pizzicato.

PEDAGOGICAL VALUE

Excellent for rhythmic and ensemble training because it requires
disciplined counting and the maintenance of a steady eighth note
pulse through changing metres. Useful for developing understanding
of variation technique, and for developing bow control on changing
dynamics. Provides a valuable introduction to changing metres.

Dynamics: No dynamics are marked in the parts. The only marking
in the score is a pp on the repeat of Movement II. Additional
dynamics should be added to increase musical interest.

String crossings: Moderate number of string crossings.

Chords: Viola has three three-note chords in Movement IV. These
can be performed with one note in Viola I, two notes in Viola
II. Cello has four three-note chords in Movement IV. These can
be divided with one player on the upper note, one player on the
lower two notes.

Pizzicato: Movement II is played pizzicato throughout except
for the final three notes which are marked "arco, if wished."

III. LEFT-RIGHT HAND CO-ORDINATION CHALLENGES

No special challenges.

IV. ENSEMBLE CHALLENGES

Balance: Good balance between melody and accompaniment is needed.

Blend: Good blend of sound is needed when voices move together
(eg., Viola, Cello, and Bass on accompanying chords in Movement
I; all voices on block chords in Movement III; accompanying voices
in Movement IV).

Fluency: Running eighth notes in Movement IV must be fluently
played.

Intonation: Special care is needed when chromatic alterations
occur.

Phrasing: Players must shape phrases to avoid a mechanical
note-by-note effect, especially on the quarter notes which occur
throughout Movement I and on the running eighth notes in Movement
IV.

Rhythm: Tied notes must be carefully counted, and rests must
get full value. In Movement III, the alternation between 3 and
2 requires careful counting and constant alertness. The running
eighths in Movement IV must be steady.

MUSICAL CHARACTERISTICS

Form: Four short movements. The first is a free form movement,
based on a repeated descending three-note pattern. Movement II
features considerable use of repetition. Movement III uses A A'
Coda form. The Violin melody of the first sixteen bars is repeated
in the following sixteen bars, but with the rhythm and harmony
changed. A short coda, based on the opening melody, concludes
the movement. Movement IV also uses A A' Coda form. The eighth
note melody of the opening sixteen bars is repeated in the following
sixteen bars but in D+ instead of the original G+. A short coda
concludes the movement.

Harmony: Movement I uses E- and G+, with some chromatic changes
(e.g., alternation between B and B-flat, E and E-flat). Movement
II is in A-. Movement III is in E-, with frequent parallel movement
(e.g., parallel fifths, sixths, octaves). Movement IV is in G+,
with change of key to D+ at bar 17. Some augmented and added sixth
chords are used.

Melody: Generally small melodic range. Movements I and II are
based on descending three-note patterns, and feature mainly conjunct
motion. Movement III is based on the interval of a third (ascending
and descending). Movement IV features running scale patterns,
often ascending only four notes before descending.

Rhythm: For Movement I, metre is cut time, tempo is half note
= 96. Based on descending three-note pattern in quarter notes,
with the accent falling on different notes of the pattern from
bar to bar. For Movement II, metre is 3/4. Movement III alternates
between 3/4 and 2/4 metres. For the first sixteen bars, the pattern
is a bar of 3/4 followed by a bar of 2/4 . At bar 17, the pattern
is reversed (2/4 3/4). Beginning at bar 33, the 3+2 pattern alternates
with 2+3. Voices almost always move in rhythmic unison. Movement
IV metre is 3/4. Running eighth notes are passed from voice to
voice, sometimes appearing in two or three voices at once.

Timbre: The pizzicato sounds of Movement II contrast with the
sustained bowed sounds of the other movements.

PEDAGOGICAL VALUE

Provides useful rhythmic training (e.g., alternation between
3/4 and 2/4 metres in Movement III; hemiola rhythm in Movement
II; three-note patterns in cut time metre in Movement I). Aids
ensemble development as all instruments have opportunities to
play melody and rhythmic accompaniment. Aids the development of
musical understanding. (Students can identify the melodic and
rhythmic patterns and can analyse how they are used.) Work on
chromatic alterations (e.g., B, B-flat, A-sharp in Movement I)
can build students' aural skills.

Positions: Violin II, Viola, and Cello use First Position only.
Violin I can play everything in First Position, but some use of
Half Position is recommended in bars 50-57 in order to avoid repeated
first finger chromatic alterations. Bass uses First Position throughout
except in the third bar of letter B where Half Position is needed.

Shifting: Violin II, Viola, and Cello are not required to shift.
One simple shift from First Position to Half Position and back
to First Position is recommended for Violin I. Bass has one shift
from First to Half Position and back to First Position. Open strings
provide time to prepare.

Dynamics: Few dynamics are indicated in the score. They are
used only to indicate where the moving line or the melody is to
be brought out. Some other dynamics should be added to make the
piece more interesting musically.

String crossings: Moderate number of crossings.

Chords: Violin II, Viola, and Cello two-note chords are to
be played divisi. The score indicates no chords for Bass, but
the part indicates divisi octaves in bars 2-4 of letter B.

Pizzicato: Violin I, Violin II, and Viola play pizzicato at
letter F, and return to arco at letter G. Quick changes from arco
to pizzicato and vice versa. (There is only an eighth rest during
which to make the change.) The final note for Cello and Bass is
pizzicato. Rests provide time to prepare for the change from arco
to pizzicato.

III. LEFT-RIGHT HAND CO-ORDlNATlON CHALLENGES

No special challenges.

IV. ENSEMBLE CHALLENGES

Balance: Cello melody at letter F must be clearly heard.

Blend: Accompanying voices must blend well.

Intonation: Special care is needed when modulations occur.

Phrasing: Cut-offs on rests at the ends of phrases must be
exactly together.

Rhythm: Sixteenth notes must be steady. They must fit precisely
with the accompanying eighth notes.

MUSICAL CHARACTERISTICS

Form: Rondo form (A B A bridge C A C bridge A D A coda).

Harmony: D+ with some modulations to closely related keys.
Contrasts between major and minor tonalities are featured (D+
contrasting with D- and B-).

Melody: The melody moves mainly by step or by small skips.
There is frequent use of repeated pitches. The largest leap is
an octave. Simple chords are often outlined (e.g., D F-sharp A
in bars 1,3,5,7,etc.).

Texture: Generally thick homophonic texture. Melody is in Violin
I except at letter F where Cello has the melody. Other voices
sometimes double Violin I (e.g., Violin II, Viola)..

Timbre Pizzicato at letter F and in the final bar ontrasts
with the on-the-string bowing used throughout the rest of the
piece.

PEDAGOGICAL VALUE

Useful for teaching chromatic alterations, extensions, and
changes between major and minor tonality. Valuable for analysis
of rondo form.

Composer: STRACHAN, BRIAN

Title: SONG FOR A SUMMER DAY

Instrumentation: Violin I, Violin II, Viola, Cello, Bass

Duration: 5'

Availability: Composer

Level: Medium

TECHNICAL CHALLENGES

I. LEFTHAND CHALLENGES

Finger patterns: Moderate number of finger pattern changes.
Patterns are Easy and Medium.

Positions: Violin I, Violin II, and Viola use only First Position.
Bass uses Half and First Positions. All Cello notes are playable
in First Position except for one note in bar 28 which requires
the use of a higher position (Second or Fourth Position).

Shifting: Violin I, Violin II, and Viola do not need to shift.
Bass has some simple shifts between Half and First Position. One
simple Cello shift out of First Position is required in bar 28.

Finger dexterity: Moderate speed of finger changes. Moderate
number of fingered string crossings. Violin I, Violin II, and
Viola have a few chromatic alterations involving the slide of
a finger.

Phrasing: All students, whether playing the melody or an accompanying
line, should observe the four-bar phrases of the folk melody.
The phrases should be shaped to follow the rise and fall of the
melodic line.

Rhythm: The repeated syncopated rhythm ( eighth-quarter-eighth)
must be played precisely. Precision is especially important when
voices move in rhythmic unison. Players must follow the conductor
on tempo changes.

MUSICAL CHARACTERISTICS

Form: This piece consists of a variety of treatments of a simple
folk melody. The introduction, bridge sections, and coda feature
rhythmic and/or melodic fragments derived from the folk tune.
Augmentation and canonic treatment of the melody are used. Metre
changes are also used to provide variety.

Harmony: The folk melody is in the Aeolian mode. Strachan's
setting centres on E- but with some use of chromaticism and seventh
chords. Open fifths and parallel fifths are frequently used. Repeated
bass notes produce pedal effects (e.g., bars 13-20, 21-24, and
41-47). The Bass ostinato (bars 25-31) recurs in 5/4 metre in
bars 89-95.

Melody: Simple, familiar Canadian folk melody, Land of the
Silver Birch.

Rhythm: Metre is C with a change to 3/4 for bars 69-88, to
5/4 for bars 89-96, and to 4/4 for bar 97 to the end. There is
no tempo indication in the score at the beginning, but bar 101
is marked slower, bar 102 is marked ritard, bar 103 is marked
lively, and bar 108 is marked slow. There is a pause on the half
note in the final bar. The eighth-quarter-eighth syncopated rhythm
recurs throughout the piece in the melody and in the accompaniment.
There is some use of rhythmic augmentation ( eighth-quarter-eighth
becomes quarter-half-quarter and half-whole-half). Rhythmic ostinato
effects are used in the accompanying voices.

Texture: Generally thick homophonic texture, but with some
independence of voices. Melody passes from voice to voice and
is treated canonically in bar 42 ff.

Finger patterns: Moderate number of changes of finger pattern.
Patterns are mainly Easy and Medium.

Positions: Violins have no notes outside the range of First
Position, but occasional use of Second and Third Positions is
recommended. Viola and Cello use only First Position. Bass uses
Half and First Positions.

Shifting: A few simple shifts are recommended for Violin I
and II. Viola and Cello are not required to shift. Bass has some
straight forward shifts.

Finger dexterity: Moderate speed of finger changes. Considerable
use of repeated notes. Moderate number of fingered string crossings.
Only Cello has a leap greater than an octave, and that occurs
during a rest, giving time to prepare. Violin I has some simple
chromatic alterations requiring the slide of a finger (A-sharp
to B with first finger).

Special effects: Violin I has some two-note chords which involve
two fingered notes, but the finger combinations are not difficult.
Violin I and II have some half note trills.

String crossings: Moderate number of string crossings, mainly
to adjacent strings, often in ascending or descending scale passages.

Chords: Violin I has a short passage of two-note chords requiring
short detache bow strokes.

III. LEFT-RIGHT HAND CO-ORDINATION CHALLENGES

Bow and left hand finger changes must be exactly together in
passages where the pitch changes on each eighth note.

IV. ENSEMBLE CHALLENGES

Balance: Viola, Cello, and Bass must not overpower Violin I
and II.

Blend: The homophonic texture requires a good blend of sound.
Where Cello and Bass are answered by Violin I, Violin II, and
Viola (at letter D and after letter I), Cello and Bass must blend
well, as must the upper instruments. Uniformity of bowing should
help the players to achieve the required blend of tone.

Fluency: Players must move together, feeling the flow of the
eighth and sixteenth notes so the piece does not bog down.

Phrasing: Thinking in four-bar phrases will help players to
keep the repeated eighth notes moving musically.

Rhythm: Rhythm must be precise since voices often move together.
Rhythmic pairing of voices at letter D and after letter I requires
precision. Eighth notes must be very even. Sixteenth notes must
not rush. Rests must be carefully counted. There are no tempo
indications in the score. A moderate tempo would seem appropriate
to accommodate the sixteenth notes.

MUSICAL CHARACTERISTICS

Form: Three main sections, with considerable use of repetition.
The A section (from the beginning to letter C) features repeated
sixteenth notes in Violins and Viola. This is contrasted with
a more lyrical B section (letter C), featuring a slurred "dotted
quarter to eighth" figure in Violins and a more articulated
C section (letter D), where Cello and Bass are answered by Violins
and Viola. There is a return to material from the A section at
letter E. The B section recurs in the relative minor at letter
F. Ideas from the C section are developed at letter H. The A section
returns with the Da Capo, and this is followed by a coda again
based on section A.

Harmony: Straight forward use of conventional harmony. Begins
and ends in D+ with modulation to B- (relative minor) at letter
F.

Melody: The A section has little melodic interest. It features
considerable use of repeated notes and much conjunct motion. The
B section has more melodic interest. The Violin melody is derived
from the underlying chords and features skips of thirds, fourths,
and fifths. The C section uses ascending scale figures in Cello
and Bass, answered by descending scale figures in Violins and
Viola.

Finger patterns: Moderate number of changes of finger pattern
for Violins and Viola, with patterns being Easy and Medium. Cello
uses some forward and backward extensions.

Positions: Violin I uses First, Second, and Third Positions.
Cello uses First and Second Positions. All Violin II and Viola
notes are playable in First Position, but some use of Second and
Third Positions in Violin II and some use of Viola Third Position
may be used to help avoid string crossings.

Shifting Violin I must make a few simple shifts. Cello has
one simple shift from First to Second Position and back to First
Position. No shifts are essential for Violin II and Viola, but
a few simple shifts are recommended.

Finger dexterity: Slow to moderate speed of finger changes.
Moderate number of fingered string crossings. Largest leaps are
octaves (Violin II, Viola, and Cello). Viola has one chromatic
alteration involving the slide of a finger.

Special effects: None except for a written-out turn in the
second last bar (Violin I).

Balance: Good balance is needed so that the fugue subject can
be heard clearly, especially in the thickly scored sections.

Blend: A good blend of sound within each section of the orchestra
is needed to achieve clarity of contrapuntal voice movement.

Fluency: A smooth, flowing musical effect should be sought.
The fugue subject should pass smoothly from voice to voice to
avoid a choppy, disjointed effect.

Intonation: Care is needed when chromatic alterations occur.

Phrasing: Phrases must be well shaped and sustained.

Rhythm: The tempo should be slow but it should not be allowed
to drag. Tied notes should be carefully counted.

MUSICAL CHARACTERISTICS

Form: Short four-voice fugue.

Harmony: Tonal. Fugue subject enters in G- (Cello) and is answered
in D- (Viola). Then Violin II plays the subject in G-, answered
by Violin I in D-. The fugue ends in G- but with a raised third
in the final tonic chord.

Melody: Fugue subject features the interval of a third ascending
and descending. There are no leaps greater than an octave and
there is considerable use of conjunct motion.

All parts are musically interesting since the fugue subject
passes from voice to voice. Useful for developing sustained tone
and smooth bow changes. Presents an opportunity for students to
analyse fugue form. Aids in the development of aural skills and
ensemble playing skills because all players must listen carefully
and adjust sensitively in order to achieve good balance.